楊曉勛. / 本論文於1997年9月呈交. / 論文(博士)--香港中文大學音樂學部, 1998. / 參考文獻: p. 109-113. / 中英文摘要. / Ben lun wen yu 1997 nian 9 yue cheng jiao. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Yang Xiaoxun. / Lun wen (Bo shi)--Xianggang Zhong wen da xue yin yue xue bu, 1998. / Can kao wen xian: p. 109-113. / Zhong Ying wen zhai yao.

<p>The purpose of this paper is to study the connection between Taoism and analytical psychology. This is done by descriptive text analysis of post-jungian literature. Often mentioned when searching for the inspirations and influences on analytical psychology we find references to alchemy, Buddhism, Gnosticism, Hinduism and the hermetic tradition. More seldom do we meet any references to Taoism. My aim is to investigate what gravity do the post-jungians attach to the taoism influence on C.G. Jung´s analytical psychology. This paper will also argue that Taoism is an underestimated influence in the development of the analytical psychology.</p><p>Keywords: Analytical psychology, Jungian psychology, Taoism, Tao, Richard Wilhelm, synchronicity, C.G. Jung, analytisk psykologi, jungiansk psykologi</p>

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

The purpose of this paper is to study the connection between Taoism and analytical psychology. This is done by descriptive text analysis of post-jungian literature. Often mentioned when searching for the inspirations and influences on analytical psychology we find references to alchemy, Buddhism, Gnosticism, Hinduism and the hermetic tradition. More seldom do we meet any references to Taoism. My aim is to investigate what gravity do the post-jungians attach to the taoism influence on C.G. Jung´s analytical psychology. This paper will also argue that Taoism is an underestimated influence in the development of the analytical psychology. Keywords: Analytical psychology, Jungian psychology, Taoism, Tao, Richard Wilhelm, synchronicity, C.G. Jung, analytisk psykologi, jungiansk psykologi

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Esta dissertação tem como objetivo apresentar a obra Excerptos de Filosofia Taoista do autor Manuel da Silva Mendes, considerado o primeiro português a estudar e divulgar a tradição taoísta chinesa em Macau. Baseado nos conceitos de que tradução é uma recriação ou reinvenção, apresentados por Haroldo de Campos em sua obra Da transcriação poética e semiótica da operação tradutora, 2011, procurar-se-á analisar quatro poemas da obra em questão a fim de demonstrar que estes tratam-se de adaptações dos trechos dos livros clássicos do pensamento chinês &#36947;&#24503;&#32147; Dào Dé J&#299;ng de &#32769;&#23376; L&#259;oz&#301;, e &#21335;&#33775;&#32147; Nán Huá J&#299;ng de &#33674;&#23376; Zhu&#257;ngz&#301;. Para se atingir este fim, será feita uma análise comparativa com os originais em chinês clássico e com as traduções para o inglês do sinólogo escocês James Legge, tradutor com o qual Silva Mendes dialoga. A análise também servirá para mostrar as semelhanças e diferenças entre as versões poéticas do autor português e as originais, em sua grande parte escrita em prosa. / This dissertation aims to introduce the work Excerptos de Filosofia Taoista by Manuel da Silva Mendes, whom is considered to be the first Portuguese to study and disseminate the Chinese Taoist tradition in Macau. Based on the concepts that translation is a re-creation or a reinvention, which were presented by Haroldo de Campos in his work Da transcriação poética e semiótica da operação tradutora, 2011, four poems of the work in question will be analyzed in order to demonstrate that they are adaptations of the classic books of Chinese thoughts stretchs &#36947;&#24503;&#32147; Dào Dé J&#299;ng, by &#32769;&#23376; L&#259;oz&#301;, and &#21335;&#33775;&#32147; Nán Huá J&#299;ng, by &#33674;&#23376; Zhu&#257;ngz&#301;. To this end, a comparative analysis will be made between the original stretchs in classical Chinese and the English translations by the Scottish sinologist James Legge, translator with whom Silva Mendes dialogues. The analysis will also serve to show the similarities and differences between the poetic versions of the Portuguese author and the originals, most part written in prose.

O presente trabalho consiste em um estudo teórico que busca relacionar os princípios que norteiam as técnicas corporais fundamentadas na filosofia taoísta com alguns conceitos da psicologia analítica, tomando como eixo o processo de desenvolvimento da personalidade. Como método de trabalho, foi feita uma revisão bibliográfica, procurando sistematizar o assunto por meio da análise de alguns tópicos. A pesquisa começa com a apresentação da técnica corporal terapêutica taoísta chamada qigong (chi kun), situando-a em seus aspectos históricos, depois parte para as pesquisas clínicas que buscam validar seus efeitos terapêuticos, principalmente, explorando alguns conceitos filosóficos que fundamentam sua prática. Em seguida, foi destacada a perspectiva psicossomática como referencial de abordagem aos processos de saúde e doença, e, apresentadas algumas técnicas corporais da psicologia, destacando as técnicas de relaxamento. A partir desses elementos foram identificados nos estudos de C. G. Jung sobre as práticas corporais e meditativas taoístas, relações entre elas e o processo de individuação. O corpo, tomado como um instrumento de intervenção, por meio dos exercícios de relaxamento, alongamento, respiração e meditação, pode explicar as técnicas corporais taoístas no que diz respeito aos seus benefícios terapêuticos, concebidos nestes métodos como a busca da harmonização da energia, chamada de qi, e de seus aspectos yin e yang, o que culminaria tanto na saúde do corpo, quanto na harmonia psíquica resultante da experiência de identificação com um aspecto superior da consciência, nesta filosofia denominado Tao. Por outro lado a psicologia analítica dá mais atenção às manifestações corporais como expressões simbólicas, já que o trabalho corporal nessa abordagem busca facilitar o diálogo entre os aspectos conscientes e inconscientes da personalidade, tendo em vista uma integração maior entre os mesmos, o que corresponde a essência do processo de individuação. Assim foi observado que existe a possibilidade de convergência entre as duas propostas no que diz respeito ao cuidado com corpo e o desenvolvimento psíquico, desde que respeitando a especificidade de cada abordagem. Não existe somente um paralelismo, mas sobretudo uma complementaridade entre o conceito de processo de individuação descrito na psicologia analítica, e os objetivos e os métodos de desenvolvimento propostos pelos filósofos taoístas. A dissertação aponta ainda para a necessidade de futuros estudos que identifiquem com mais precisão até que ponto o trabalho teórico de Jung sofreu contribuição do pensamento oriental, particularmente da filosofia taoísta e, por outro lado, o quanto algumas interpretações ocidentais da filosofia taoísta, sofreram influência do pensamento de Jung. / The present research consists of a theoretical study that intends to relate the principles which guide the body techniques based on taoist philosophy to some concepts of the analytical psychology. As a main point, it is centered on the process of the personality development. In order to systematize the subject through the analysis of some topics, a bibliographic review has been made. It begins with the taoist therapeutic body technique qigong (chi kun) being historically situated. Then, it approaches the clinical researches that intend to validate its therapeutic effects and, mainly, with the exploration of some philosophical concepts in which it is based. After that, the psychosomatic perspective is focused as a reference to the healthiness and illness processes, and some psychological body techniques, such as the relaxation, are emphasized. Beginning with those elements, relations between taoist body and meditative techniques and the individuation process have been identified in C.G. Jung´s studies. The body, considered as an intervention instrument, through the exercises of relaxation, stretching, breathing and meditation can explain the taoist body techniques regarding its therapeutic benefits as a way to pursuit the energy harmony, called qi, as well as the yin and yang aspects, which would culminate not only in the body health but also in the psychic harmony gained by the identification with a major consciousness called Tao in that philosophy. On the other hand, analytical psychology gives more attention to the body manifestations as symbolic expressions, since the body work in this approach intends to facilitate the dialogue between the conscious and the unconscious aspects of personality, aiming at increasing the integration between them, what meets the essence of the individuation process. Thus, it has been observed that, regarding body and psychic development, both approaches may converge, provided that their peculiarities are respected. There is not only a parallel, but also a complementarity between the individuation process concept described in the analytical psychology and the aims and methods of development proposed by taoist philosophers. Moreover, this research indicates the need for further studies which are able to identify more precisely the contribution of Eastern thoughts, mainly of the taoist philosophy, to Jung´s theorical work, as well as the influence of Jung´s thoughts in the Western interpretation of taoist philosophy.

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T02:25:16Z (GMT). No. of bitstreams: 1 Santi_Julio_M.pdf: 2956974 bytes, checksum: 33010fe8b1c0be1edcf0254f1cabbdd2 (MD5) Previous issue date: 2012 / Resumo: Análise de seis contos do livro "Primeiras Estórias", de Guimarães Rosa. O ponto de partida da análise foi uma estrutura linguística chamada voz média, uma espécie de síntese entre a voz ativa e voz passiva. Com ponto de partida linguístico, o trabalho se inspira na obra Was Geht Uns Noah An, de Wolfgang Von Schöfer, e tenta resgatar significados de palavras que se perderam ao longo do tempo. Assim, encontra-se um ponto de diálogo com a obra de Suzi Frankl Sperber, que defende que Guimarães Rosa utiliza um recurso que a autora chamou de abertura do sintagma e também o de fundir espaço e personagem na narrativa com o objetivo de potencializar, ampliar os sentidos. A presente dissertação explora as dimensões simbólicas da obra de Rosa, mostrando de que maneira o autor se abria e investigava os mistérios da vida. Foram levantados alguns temas que se repetem em todos os contos, e a partir de uma análise minuciosa sobre os contos, encontra-se um tema principal que é desenvolvido: a importância de viver é compreendida através do aprimoramento da alma - e isso se dá através do conhecimento não de ordem racional, mas prática / Abstract: Analysis of six shorts stories from the book "Primeiras Estórias", written by João Guimarães Rosa. The analysis' starting point was a linguistic structure called "Middle Voice", some kind of synthesis between active and passive voice. This work is inspired in the book from Wolfgang Von Schöfer, Was Geht Uns Noah An, and tries to retrieve some word's meanings that have got lost through time. Therefore, this work was able to dialogue with the work from Suzi Frankl Sperber, who defends that Rosa uses a technique that Suzi has called "syntagm 's opening", and also an important structural characteristic: Rosa merges the space and the character in the narrative, in order to amplify the possible meanings and interpretations. This current dissertation explores the symbolic dimension of six shorts stories from Primeiras Estórias and tries to analyze how the author explored the meaning and mysteries of life. Some subjects were noticed, and after a detailed analysis of each short story, a main subject is found: the importance of living is understood as the development of the soul - and this happens only through the acquisition of practical knowledge / Mestrado / Literatura Brasileira / Mestre em Teoria e Critica Literaria

Cette recherche vise à éclairer le phénomène, dans l’art contemporain, de la création d'« espaces méditatifs » destinés à induire un certain état d’esprit fait d’intériorisation paisible. Nous l’étudions chez des artistes dont la plupart sont inspirés par la pensée extrême-orientale. Il s'agit des Coréens Kim Ho-deuk, Kim Kichul, Kimsooja, Kim Sung-bae, Yee Sookyung, des Japonais Miyanaga Aiko et Yamamoto Motoi, de l'Allemand Wolfgang Laib et de la Française Tania Mouraud. L'espace méditatif est réalisé au moyen de l’élaboration de divers genres d’environnements sensoriels, souvent poly-sensoriels, qui incitent le spectateur à s’y plonger et le conduisent ainsi à une certaine méditation. Dans la création de cet espace particulier, ce qui est essentiel, ce n’est pas seulement l’idée et le concept de l’artiste, mais aussi le soin qu’il met à réaliser son oeuvre. Soin dans la manipulation et l’exécution, recourant tantôt à des techniques artisanales traditionnelles, tantôt à d’autres, complètement inédites. Toujours l’attention est première : on la voit dans leurs actes lents, répétitifs, ascétiques, qui ressemblent même parfois à un rite. Ils ouvrent à une autre dimension de l’art, que l’on peut qualifier de spirituelle. On passe ainsi de la réflexion à la méditation, et parfois on rejoindra l’artiste dans l’intuition d’où est née l’oeuvre. Des questions fondamentales sont ainsi soulevées, sur la vie, la mort, le temps. Églises et temples sont aujourd'hui moins fréquentés, mais beaucoup cherchent une sorte d’espace ouvert « vers le haut », ou « vers le profond », un « espace méditatif ». Trouveront-ils cet espace à la galerie ou au musée ? / This study attempts to shed some light on the creation of what might be called “meditative spaces” in Contemporary Art, spaces which seem to engender a special state of mind induced by peaceful interiorization. Most of the artists we study are inspired by Far Eastern thought: Kim Ho-deuk, Kim Kichul, Kimsooja, Kim Sung-bae, Yee Sookyung from Korea, Miyanaga Aiko and Yamamoto Motoi from Japan, Wolfgang Laib from Germany, and Tania Mouraud, from France. This meditative space is created by the elaboration of different kinds of sensory environments, often poly-sensory ones, which incite the spectator to immerse themself, leading them thereby to some kind of meditation. What matters here is not only the artist’s idea or concept, but also the care the artist takes to create their work. Care in the creation and performance which, sometimes, uses traditional craft techniques, sometimes wholly different, very original ones. The quality of attention always comes first: it can be seen in their way of proceeding, using slow, repetitive, ascetic movements, which sometimes even look like a ritual. Thus they open Art to a new dimension that could well be called spiritual. From reflection one slowly moves to meditation, and perhaps even—when the spectator joins the artist in his/her intuition—to the very source which gave birth to the work. Fundamental questions are thereby raised, about Life, Death, and Time. Churches and temples are less and less attended today, but many people still look for a kind of place, an “uplifting” open space, or an “inward” one: a meditative space. Will they be able to find it at the gallery or in the museum ?

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.